Laurey's Entrance Lyrics – Oklahoma

Song Overview

Personal Review

Listening to Laurey’s Entrance feels like peeking through a door into the world of early-20th-century prairie life—barely eighteen seconds of whispered melody and soft spoken line, yet every note carries the warm promise of dawn. The way those opening lyrics drift, “Oh, what a beautiful Mornin’,” it’s as if the rails of the Palace Theatre floorboards creak beneath Laurey’s hopeful step—and suddenly you’re right there, standing on Aunt Eller’s porch. Key takeaways? It’s brief, theatrical, and brims with anticipation—Laurey’s world is about to spin, and this tiny track is her invitation.

Song Meaning and Annotations

Though track 3 on the 1980 recording runs just under twenty seconds, it’s far more than a simple prelude—it’s a storytelling device. In Laurey’s Entrance, the gentle anapestic sway of Rodgers’s melody meets Hammerstein’s earnest lyrics, forging a bridge between Curly’s exuberant greeting and the unfolding drama of “The Surrey with the Fringe on Top.” This fusion of show-tune grace and spoken theatre rhythm propels the action forward, hinting at both pride and playfulness in Laurey’s character.

The emotional arc here is subtle: it opens bright and hopeful, then turns coy with that off-stage quip—“Oh, I thought you somebody!”—and you feel Laurey’s quicksilver wit. It’s the calm before the next musical storm, a reflective pause that teases both romance and restraint. Historically, this entrance underscores the evolving role of women in musicals of the 1940s-1970s, as Laurey’s spirited autonomy edges into her courtship with Curly.

Oh, what a beautiful Mornin’
Oh, what a beautiful day
I’ve got a beautiful feelin’
Everything’s goin’ my—

With that snippet of lyrics, Hammerstein reminds us of Curly’s optimism, only now filtered through Laurey’s own voice. Notice how her melody echoes his but lands softer—an intentional mirror that speaks to her guarded heart. And then the spoken aside snaps the audience back to reality, grounding the fantasy in human interaction.

Rodgers’s orchestration here is lean: strings and woodwinds play just under Jay Blackton’s direction, creating an airy backdrop that feels both spacious and intimate. It’s a testament to Broadway’s golden age of studio recording that an ensemble this size can feel as immediate as a chamber piece.

Metaphorically, the “beautiful mornin’” signals new beginnings—both for the territory on stage and for Laurey’s emotional journey. That one line carries the weight of a sunrise, suggesting transformation. It’s no accident that this track dovetails so neatly into the next number’s promise of fancy fringes and horse-drawn dreams.

Verse Highlights

Verse 1

Laurey’s soft rendition of Curly’s verse sets a reflective tone. Her phrasing lingers on “beautiful,” as if tasting the word’s promise before letting it go.

Chorus

Oh, what a beautiful Mornin’ – Oh, what a beautiful day…

Song Credits

• Featured: Christine Andreas
• Producer: Thomas Z. Shepard
• Composer: Richard Rodgers
• Lyricist: Oscar Hammerstein II
• Release Date: 1980
• Genre: Cast Recordings, Show/Musical, Musicals, Show Tunes
• Instruments: Orchestral ensemble under original orchestrations by Jay Blackton
• Recording Studio: RCA Studio A
• Music Director: Jay Blackton
• Label: RCA
• Length: 00:18
• Track #: 3
• Language: English
• Album: Oklahoma! (1979 Broadway Revival Cast Recording)
• Mood: Optimistic, bright
• Music Style: Show tune

Songs Exploring Themes of Courtship

While People Will Say We’re In Love (Oklahoma!) revels in flirtatious banter between Curly and Laurey, “Laurey’s Entrance” offers a gentler, almost private moment. The former bursts with shared amusement; the latter hints at inner reflection.

Meanwhile, If I Loved You (Carousel) plunges into the fear and hope of unspoken affection, trading Laurey’s coy optimism for Julie Jordan’s trembling vulnerability. Both songs hinge on self-doubt and desire, but Carousel’s heroine faces her heart head on, whereas Laurey steps lightly around hers.

In contrast, Some Enchanted Evening (South Pacific) soars on sweeping romance, a direct opposite to the modest intimacy of “Laurey’s Entrance.” Here, visions of love are grand and across oceans, while Laurey’s sunrise is local—her world small but deeply felt.

Questions and Answers

When was “Laurey’s Entrance” released?

It was released in 1980 as track 3 on the Oklahoma! 1979 Broadway Revival Cast recording.

Who wrote “Laurey’s Entrance”?

Music by Richard Rodgers and lyrics by Oscar Hammerstein II.

How long is “Laurey’s Entrance”?

The track runs for exactly 18 seconds.

Where was it recorded?

At RCA’s Studio A in New York City.

What is the role of “Laurey’s Entrance” in the show?

It serves as a musical and dramatic bridge, introducing Laurey’s perspective before the next full song.

How to Sing?

To capture Laurey’s shy radiance, aim for a clear mid-soprano tone that floats above the orchestra without pushing. The score marks the cue at l’istesso tempo, matching the bright 2/4 pulse of “Oh, What a Beautiful Mornin’.” Breathe lightly before “Oh,” letting the inhalation carry through the phrase. Since much of the track is off-stage, use an “inside out” resonance—soft focus in the throat but enough forward placement to reach the back of the theatre. Think of stepping out into sunrise: gentle projection, warm undercurrent.

Fan and Media Reactions

“Christine Andreas makes Laurey a likably playful tomboy but is not always quite on pitch.” Anonymous Amazon Reviewer

“Characters could just as well be from California!” JK, Broadway in a Box

“The recording itself is of a very high quality. Even in the choral sections, all lyrics are clear.” JK, Broadway in a Box

“I saw this production twice when it came to Oklahoma City on its way to Broadway. It is the best yet, and this CD captures the energy of that show very well.” SWAPA CD User

“This cast featured Laurence Guittard, Christine Andreas and Christine Ebersole, with original orchestrations under the music direction of Jay Blackton.” Rodgers & Hammerstein Official Site